:35:01
Alright, maybe. If he promises it's
just lunch and that's absolutely all.
:35:04
He promises. Unless she can think of
something she'd like to do after.
:35:08
- Which she won't!
- Seren... Alright, then.
:35:11
He hails a horse and carriage and
they go off to the Bois. Settled?
:35:16
Settled. And now I suppose
we ought to write it.
:35:20
Not at all.
The audience is ahead of us.
:35:22
They've known she'll have lunch
with him for an hour.
:35:25
But how do we get from the square
:35:27
through the charm and serendipity
you do so brilliantly?
:35:30
In motion pictures
we have a simple device
:35:33
which takes care of
exactly this situation. The dissolve.
:35:36
Over the years,
the audience has been conditioned
:35:39
to understand
that when a scene fades away,
:35:42
like an old soldier,
before their very eyes,
:35:45
and another scene gradually appears
to take its place,
:35:48
a certain amount of time has elapsed.
So, Miss Simpson,
:35:52
we dissolve...
:35:55
We dissolve slowly
and lingeringly...
:35:59
...to the Bois.
:36:02
A hansom cab
bearing our handsome couple
:36:05
clippety-clops its way
past waterfalls and trees
:36:08
toward a magnificent restaurant.
:36:10
Notice, Miss Simpson,
how cleverly I play
:36:12
our suspense-filled melodrama
against a background
:36:15
of holiday serendipity
in "gay Paris".
:36:30
We will spare the audience
the pages of dreary small talk,
:36:35
and get to the heart of the matter
:36:37
by the simple use of the device
I've just explained, the dissolve.
:36:42
Who are you? What do you do?
:36:45
Who am I and what do I do?
I'm nobody
:36:49
and I've done everything
and nothing.
:36:51
Driven racing cars,
white hunter for a while,
:36:54
piano player in a rather curious
establishment in Buenos Aires.
:36:58
This and that,
everything and nothing.